Transportation from the hotel, departure time will be announced
TRIPTYCON* is a collection of three solo works that marks Jonas Øren’s fascination for idealization: It portrays the desire to be something else – something unattainable.
“Someone must see me so that I can be possessed by whoever sees me”
Luce Irigaray (Belgian-born French feminist, philosopher, linguist, psycholinguist, psychoanalyst, and cultural theorist) writes in “Invisible of the Flesh”.
Together, the works marks Øren´s entrance into a praxis using movement, dance and choreography as a way to investigate self-performance and how bodily references, quotations and mirroring defines, builds and marks identity. The dance works deal with personal as well as general understandings of (bodily) ideals – and what opposes them – objectification, glamourisation and queer performativity strategies.
*The term tryptich– triptycon – refers to an artwork that can be displayed as a single piece or opened to reveal three parts.
Faun (2020):
Faun is a speculative entrance into a historical choreographic work by Nijinskij. What does it mean to dance a dance – a historical piece – without learning it first? How will it look when it is the desire to inhabit a form that leads the dance, and not knowledge or experience?
L’Après midi d’un faune (1984) is a symphonic poem for orchestra by the French composer Claude Debussy. It is one of Debussy’s most famous works and is regarded as a turning point in the history of music, as it is considered the beginning of modern music. The composition was inspired by the poem of the same title by Stéphane Mallarmé. This is Mallarmé’s most famous work and is a landmark in the history of symbolism in French literature. Guitarist Tormund Vea deconstructs the work by turning it on its head.
The play and poem formed the basis for the ballet of the same title choreographed by Nijinskij. The ballet was performed in 1912 at the Theatre du Chatelet in Paris by the iconic ballet company Ballets Russes. The ballet created a scandal as the performance was seen as obscene and highly erotic. A faun is lying in the forest playing the flute. He is surprised by nymphs who are about to bathe, and is amorously attracted to one of them. He gets hold of a shawl that she loses and fondles it before the curtain falls.
The historical choreographic material is deconstructed with a main focus on what can be experienced as queer bodily tendencies that have slipped into (queer) performative clichés. This is magnified, clarified and abstracted in a reinterpretation of the original work, as we consistently ask what has become stereotypical images of queer, camp, femme and gay.
In Faun, a narrative is rewritten by pleasure and fantasy of inhabiting – stealing – a danced form, carved in stone like a relief. Faun was originally created for Teaterfestivalen i Fjaler in 2020.
Concept, dance and choreography: Jonas Øren, Music: Tormund Blikra Vea, Re-admission supported by Fond for Lyd og Bilde